BOB MARLEY - CATCH A FIRE WITH ZIPPO CASE - Japanese OBI MINI REPLICA LP TITLES making a 11 CD Box Set- Japanese OBI MINI REPLICA BOX SET Japanese re-mastered Mini LP replica Limited Edition Collection Recorded from the finest Original Masters available. Each title Comes with anti-static sleeves similar to Vinyl LPs, Cardboard packaging exact to the original LP, Re-sealable plastic wrap cases for protection of each collectible and include extensive Liner Notes Booklet. Actual miniaturized version of the 12" LP in 4" CD version.

Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century’s most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein’s reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850–1874.

If, as Joseph Banowetz claims in his lively and informed notes, Rubinstein was ''the last in a line of pianist-composers that climaxed with Liszt, Busoni and Rachmaninov'', it is surely necessary to add that he was hardly a composer in the same league. And while I am more than grateful to have two such rarely heard concertos on record, powerfully and persuasively performed, it is difficult to warm to their often facile and derivative quality. Rubinstein may have been an anarchic and elemental virtuoso but he could be a sadly conventional composer. Clearly, he knew the finale of Beethoven's E flat Piano Sonata, Op. 31 No. 3, all too well, and in the First Concerto its propulsive tarantella combines uneasily with a Mendelssohnian mix of earnestness and sugar-sweet facility.

Arlo Guthrie celebrates the fiftieth anniversary of the events that snowballed into the Alice's Restaurant Massacree, his iconic talking blues narrative that has become an established part of the Thanksgiving tradition, with an unprecedented show.

Generally speaking, a souvenir is a token of remembrance, a symbol of a past that is meaningful to its creator, dedicatees, addressees, and the whole community for which it is created. A souvenir may quote, recall, evoke, imply, et al., and the realization of these potentialities is always strictly connected with the what, the how, and the why of its existence, structure, and creative/manufacturing process. As such, along the centuries and throughout the cultures of the world, the souvenir has been actualized, experienced, shared, and interpreted as a personal keepsake, a moral memento, a commercial reminder, a socio-political narrative, and so on.

‘The fantastic thing about art and music is that one can pose questions and conjure up visions at the same time.’ The words are those of the Swedish composer Jesper Nordin, who does exactly that in Emerging from Currents and Waves. A large-scale work for orchestra, clarinet soloist, conductor and live electronics, Emerging… is a collaboration between Nordin, Martin Fröst and Esa-Pekka Salonen. All three are interested in how new technology can – and will – influence art and artistic expression, and in exploring the intersection of mankind, music and technology.

360° Hugo Wolf. The title says it all. Daniel Johannsen and Andreas Fröschl present an exquisite selection of art songs from Wolf’s extensive oeuvre. Combined with the sound of the contemporary grand piano by Carl Rönisch (1872), these songs are distilled into a unique, fascinating essence of the art of Lied of the late Romantic period.

The Danish piano auteur Carsten Dahland the dynamic American trumpetist Tim Hagans meet the acclaimed Swedish double bass player Johnny Åman and the Finnish master drummer Jukkis Uotilaon the new album A Beautiful Blue Moment, now available on Storyville Records. Actually, this rare quartet had never played together, before they gathered at the scene of the historic jazz club Montmartre in Copenhagen and played the music of the moment at three sold out evenings in August 2021.

The second of two sets that document a Paris concert by trumpeter Donald Byrd, Parisian Thoroughfare features Bobby Jaspar on tenor and flute, pianist Walter Davis, Jr., bassist Doug Watkins, and drummer Art Taylor. Other than Byrd's "At This Time" and Davis' "Formidable," the quintet sticks to bop standards, many of which are quite concise and clock in at around three minutes. Longer versions of the title track (a high point) and "52nd Street Theme" are exceptions. This spirited, bop-oriented music is the equal of the first volume.

Cannibalism 1 (1978). Given the cohesion of the group's studio albums, Can's songs work surprisingly well in compilation form, as evidenced by Cannibalism 1, a collection of tracks taken from the first six years of the group's existence. Covering ground from 1969's Monster Movie to 1974's Soon Over Babaluma (although nothing from 1973's superb Future Days makes the cut), the sampler compiles many of the group's high points (including "Father Cannot Yell," "She Brings the Rain," "Mushroom," and "Soup"), and offers a thorough overview of Can's eclectic musical history to date, even if the abridged versions of cuts like "Mother Sky," "Aumgn," and "Halleluhwah" don't measure up to the full-length renditions featured on the original albums…

Formed in the late '80s out of a common interest in speed and doom metal, Exhorder helped shape the "Louisiana sound," a common sound shared between many metal bands from the state. By crafting chugging, tight riffs with a rigid structure, Exhorder made quite the local impression with 1990's Slaughter in the Vatican…

Eliza Neals is a fierce and fearless warrior, waging battle from the realm of the blues, with power and soul on her side, heard not just in that great voice of hers, but in her work on piano as well. Her new album, Badder To The Bone, features mostly original material, written or co-written by Eliza Neals. It follows 2020’s Black Crow Moan, and like that album, this one features some excellent musicians backing her, including guitarists Lance Lopez and Billy Davis, keyboardist Peter Keys, bassist Jason Kott and drummer Tim Grogan. Eliza Neals produced and arranged the tracks, getting some help from co-producer Michael Puwal on several songs.